Westward empire : $b or, the great drama of human progressMagoon, Elias Lyman
History
Westward empire : $b or, the great drama of human progress
Magoon, Elias Lyman
Civilization, Western
When the great depositories of art in Greece and her western colonies
fell under the control of the Romans, the villas of the rich in the
metropolis and chief cities were converted into great halls of art.
Earlier, martial Rome, which, according to the expression of Plutarch,
knew no ornaments but arms and spoils, furnished to the unwarlike and
luxurious spectators no pleasing or unalarming spectacle. "To melt
brass, and breathe into it the soul of art, or to create living forms
in marble," the Roman had not learned. "His art was government and
war." Etrurian artists had furnished him with what religion required,
of wood or clay, sufficient for all the devotional sensibility he
possessed. But after Marcellus had turned the rude minds of the
citizens to the admiration of the works he obtained by conquest over
Syracuse, all military leaders became anxious to add splendor to their
triumphs by trophies of art. Thus, in the course of a century, most
of the finest art extant traveled to Rome, at first a metropolitan
decoration, but anon, an ambitious ornament to private dwellings.
At length, the common soldier learned to despise the temples of the
gods; to confound what was sacred with what was profane; to covet fine
sculptures and rich furniture, and to nourish a mercenary ambition,
which became a new pretext for violence in war, and extravagance
in peace. As in the Republic, Lucullus and others regarded the
masterpieces of the Greeks as the fairest embellishments of their
rural mansions, so the imperial Cæsars grasped at all within reach,
and never had enough. Soon there dwelt in Rome as many statues as men;
and the treasures disinterred in modern times at Tibur and Tusculum,
on the Alban Mount, at Antium, and elsewhere in the neighborhood of
the original seat of power, indicate that the surrounding region was
not less rich than the capital itself. But a profound sense of art
was never created at Rome, and, notwithstanding all the variety of
excellence they brought together from afar, not one distinguished Roman
artist lives on the record of fame.
Public-domain text, read in full here on John Shaqi.
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